It is easy to forget that even though the "Young Lions" shaped jazz history during the 1980s and '90s, mature artists were making magnificent music, thoroughly informed by tradition but not in the least enslaved by it. Can... more &raquoadian-English trumpet and flügelhorn player Kenny Wheeler's The Widow in the Window is a good example of a veteran player whose lyrical artistry has been too often underappreciated. Performed by the core of his Large Ensemble--pianist John Taylor and guitarist John Abercrombie, bassist Dave Holland and drummer Peter Erskine--compositions like the title cut and "Ma Belle Helene" typify Wheeler's ability to write beautiful, romantic music that never descends into mere prettiness. Wheeler's horns and Abercrombie's guitar appear to float above the rhythm section's swinging sensitivity, and yet there is a muscularity that prevents the ensemble from drifting off into the ether. Recorded after Wheeler's celebrated orchestral recording and an 11-date tour, the recording reflects the result of increased exposure that five giant talents had to each other on the road. Here, they meld into one brilliant voice. (Note to Abercrombie fans: this CD contains some of the guitarist's finest recorded straight-ahead playing.) --Michael Ross&laquo less

Synopsis

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It is easy to forget that even though the "Young Lions" shaped jazz history during the 1980s and '90s, mature artists were making magnificent music, thoroughly informed by tradition but not in the least enslaved by it. Canadian-English trumpet and flügelhorn player Kenny Wheeler's The Widow in the Window is a good example of a veteran player whose lyrical artistry has been too often underappreciated. Performed by the core of his Large Ensemble--pianist John Taylor and guitarist John Abercrombie, bassist Dave Holland and drummer Peter Erskine--compositions like the title cut and "Ma Belle Helene" typify Wheeler's ability to write beautiful, romantic music that never descends into mere prettiness. Wheeler's horns and Abercrombie's guitar appear to float above the rhythm section's swinging sensitivity, and yet there is a muscularity that prevents the ensemble from drifting off into the ether. Recorded after Wheeler's celebrated orchestral recording and an 11-date tour, the recording reflects the result of increased exposure that five giant talents had to each other on the road. Here, they meld into one brilliant voice. (Note to Abercrombie fans: this CD contains some of the guitarist's finest recorded straight-ahead playing.) --Michael Ross

CD Reviews

The usual, unique, heartwrenching, swinging beauty.

D. J. Sapen | 09/30/2001

(5 out of 5 stars)

"Wheeler never writes twisty technical puzzles, yet his harmonies are always novel and give forth beautiful melodies and improvisations. Here, as in so many other of his albums, he balances a thoroughly unique instrumental voice - sounding like no one - with polished, swinging, emotionally candid and true-to-his-own-spirit sound. No one who appreciates grade-A playing, the candor of Miles in a unique voice, technical mastery in serice of music and feeling, fully realized composititons and a telepathic band can resist this. There is nothing not to like, except it ain't as "cool" or "hip" as the wannabees may want - it swings like mad, but it is openly "sensitive' - wears its heart on its sleeve, as Wheeler always does. But this is, for me, jazz that sets ths standard for what jazz must be These are the new standards."

Highest Standard in Modern Jazz Music

Pieter van Everdingen | Utrecht, The Netherlands | 08/24/2000

(5 out of 5 stars)

"Words fall short to describe this album and must be very carefully chosen if one is doing an attempt. This album definitely changed my life and my view on what can be achieved through hard work, perseverance and great talent. It gave me a reference and maybe a mission I can relate to. Probably it's best to describe this album in non-musical terms to prevent me from falling into the trap of using all the clichés already written down millions of times. To me it's like the most-beautiful diamond I've ever seen that has gone through a process of cutting and polishing by the best diamond cutter in the world. Everybody with an eye for its beauty will be hit deeply by its high quality and sheer beauty and will become silent. It will change your life forever and you will never forget it."

Sad Beauty

Dirk Hugo | Cape Town, South Africa | 10/13/2000

(5 out of 5 stars)

"Music of simultaneous introspection and existential fortitude is rare in any genre. The fact that it is so well achieved on this album amid such fervent improvisation is nothing short of astounding. Kenny Wheeler's compositions and his fluent yet fragile trumpet and fluegelhorn phrases plumb the depths of human frailty and still leave the listener with the overwhelming assurance that all is well with the world. Considering how the other musicians find so much improvisational space amid compositions of such specific mood elevates "The Widow" to classic status. A must for those who value jazz for more than just the technical prowess of players."

Doesn't get much better...

h0td0gsh0p | Pennsylvania | 02/06/2001

(5 out of 5 stars)

"For a lover of Miles, Coltrane, "Kind of Blue," and everything else that makes one think of "classic" jazz, this album was a truly remarkable find. It's now at the top of my list - even after listening to it so much (heck, probably more than a hundred times) in the last month.Kenny Wheeler has what so many jazz artists have lacked in the last 30+ years: a truly unique, personal voice. What I hear in his music is a tasteful blend of "Kind of Blue" Miles, just enough bebop, and a bit more modern harmonies that are both hip and beautiful. His compositions have a unique style of their own as well - the 24 bar melodies come to mind.There's great soloing by all of the musicians here. If you like it straight ahead, try this album out."

Sooooo Burnin'!!!

Mark R. Cuthbertson | Hurst, TX United States | 05/25/2005

(5 out of 5 stars)

"It's a little inconsistent, but overall this is one of the best albums I've ever heard. (Most of) the writing is incredible, and the solos are amazing. In particular, Dave Holland and Peter Erskine could not be better! Are they twins? How else could they sound like a single 4-handed 2-instrumented musician?

Note: This CD contains the single greatest moment in music history. Listen to "Hotel Le Hot," Kenny's solo, the last half of the second chorus...."